The opening of "Baarìa" has a sense of carnival absurdity, and various noisy sound effects have once covered Ennio Morricone's soundtrack. But the film becomes more mainstream as it goes to the back. The rhythm falls from the opening of a waterfall and gradually becomes sensational. After the protagonist becomes famous, even the tone and perspective are biased towards Hollywood techniques. At the end, the director can only rely on "time and space travel" to pull the style back to the beginning. Obviously this is a film belonging to Italy, writing epic poems for Italians in terms of love, folklore, politics and so on. Most of the investment was spent on scene reappearance and extras, which also shows Giuseppe Tornatore's ambition and sense of responsibility. Ennio Morricone's soundtrack and rhythm are very full, and there is no unified theme, and the editing is often deliberately coordinated with the sound effects.
The concept of love and family involved in the film tends to be classical, with Italian passion, dramatic lines and stage-style scheduling. The large number of characters on the stage also made it regrettable that the image was built on the surface. The small supporting characters mostly bear the comedy seasoning. The protagonist has a large age span, but lacks the progress of psychological evolution. Pepino and his father, wife and brother failed to continue digging, and they seemed a bit scattered. His yearning for politics is not fully explained, but often with a sense of irony and innuendo. From time to time, the director asks the characters in the film to express some life philosophy, even some elements of idealization and fantasy. Regarding politics, secularity, and religion, Giuseppe Tornatore both misses and criticizes. What he misses is the former Baarìa. Such customs and scenery have gradually disappeared. What he criticizes is that politics is still dark, and religion cannot solve moral problems
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